THEATER REVIEW:

It’s been a few years since local audiences have hummed along to the music of the night with what has become the biggest hit in Broadway musical history, but that creepy guy with the white mask is back.

Two years ago, Andrew Lloyd Webber’s monster hit, “The Phantom of the Opera,” celebrated its 20th anniversary by surpassing another Webber favorite, “Cats,” as Broadway’s longest-running show. Now a touring production directed, as was the original, by Harold Prince, has settled in at the Orange County Performing Artscenter.

Superb voices elevate this show, which Webber and lyricist Charles Hart conceived back in the mid-1980s. It’s a powerful celebration of musical melodrama, circa 1881, at the Paris Opera House.

It’s always a rousing experience, no matter how familiar you are with the songs and the story, to visit this venerable warhorse in which scenery chewing is not only permitted but demanded.

This time around, Jason Mills revels in the title role of the malevolent “ghost” who trains a young soprano to become the prima donna of “his” opera company. Mills possesses the vocal and acting chops, though he may not be quite as powerfully menacing as Phantoms of the past. His facial makeup, however, is properly ghastly.

As the beautiful Christine, swept up in his thrall, Sara Jean Ford is simply magnificent, displaying a rich and robust singing voice along with an affinity for the show’s over-the-top performing style. Her duets both with the Phantom and her lover, Raoul, are crisp and commanding, and her solo at her father’s grave site, “Wishing You Were Somehow Here Again,” is a high point of the second act.

Greg Mills brings a youthful bravura to the part of Raoul, who pursues Christine despite the supernatural danger involved. Kimilee Bryant excels as the soprano displaced by Christine’s fresh talents, and John Whitney is a kick as the excitable Italian tenor.

The opera’s perplexed new proprietors are well enacted by D.C. Anderson and Bruce Winant. Nancy Hess gives off a frosty glow as the staff-thumping ballet mistress, while Kristi Patricia renders a winning portrayal of the favored young ballerina.

Visually, this “Phantom” is spectacular, as would be expected, with legions of candles and pyrotechnics surrounding the misty scenic effects. And, yes, the chandelier, weighing in at one ton, makes a crashing comment to close the first act.

There still may be a few theater lovers who haven’t made the Phantom’s acquaintance. They have until April 19 to correct that omission and visit a singular stunning production.

A Modernized “Millie” at Vanguard

Last season, Vanguard University showed its audiences “How to Succeed in Business Without Really Trying.” Currently, the Costa Mesa college is presenting the flip side — or distaff side, if you will — of that musical comedy.

“Thoroughly Modern Millie” is another comical look at the world of big business through a neophyte’s eyes, this time a young flapper who arrives in 1922 New York aiming to strike it rich by marrying her boss — whoever he may turn out to be. Like “How to Succeed,” the show is replete with sight gags and overly cliched characters, yet it’s still immensely enjoyable.

Based on the 1967 Julie Andrews movie of the same name, “Millie” was reborn on stage in 2002, winning six Tony awards, including one for best musical. It’s got some winning songs and interesting characters (George Gershwin and Dorothy Parker are minor supporting roles), but its main claim to fame is its spirited choreography.

Director Vanda Eggington and her choreographers, Cambria Holford and Stephany Parker, have fashioned a bright, breezy show with high stepping and low comedy — the latter courtesy of an overly cliched subplot involving white slavery and guaranteed to offend any playgoer of Chinese descent.

Naturally, the production revolves around its Millie, and in Michelle Peltz Vanguard has unearthed the mother lode of musical comedy talent. Peltz is a gorgeously gifted bundle of talent and energy with a voice strong enough to be heard above the overanxious orchestra.

As the young man who pursues her, Ryan Miller exudes the charm of a young Jimmy Stewart. Chrissy Summering is cute and perky as Millie’s naive buddy, while Joseph Spady struts and sputters as her boss. Melody Prado is delightful as a filthy rich night club singer with a Mermanesque set of vocal cords.

If scene stealing is a crime, Kelsey Johnston should be locked up for good. Johnston enacts the show’s pseudo Chinese villainess — who books some of the new arrivals at her Manhattan girls’ hotel on a slow boat to China. The role calls for egregious stereotyping, and Johnston is up to the task.

Ensemble numbers such as “The Nutty Cracker Suite” and “Forget About the Boy” reflect the energetic attention to detail that governs the entire production. The dialogue may elicit groans, but the dancing will spur hearty applause.

Janice Wainwright’s orchestra, positioned high above the stage, is heavy on brass and often overshadows the actors in their efforts to enunciate. Lia Hansen’s 1920s costumes are particularly appealing and colorful.

“Thoroughly Modern Millie” is a show that’s not been seen too much locally (just one production at the Performing Arts Center since its birth). At Vanguard University, performers like Peltz, Prado and Johnston demonstrate the heights attainable to the most lightweight fare.

IF YOU GO

WHAT: “Thoroughly Modern Millie”

WHERE: Vanguard University, 55 Fair Drive, Costa Mesa

WHEN: Fridays at 8 p.m., Saturdays at 2 and 8, Sundays at 2 p.m. until April 13

COST: $15 - $12

CALL: (714) 668-6145

TOM TITUS reviews local theater for the Daily Pilot. His reviews appear Thursdays.